WEBVTT

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I had been in the army for three years,
until I got kicked out...

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because there were some corpses
that had to be buried.

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My lieutenant gave me
the order to bury them.

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But I didn’t. Instead I sold them
to some people who approached me.

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They wanted me to sell them.

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That they would use them for a play...

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or something like that.

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They told me not to worry,
that nobody would find out.

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So I believed them and
I sold them the corpses.

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I found out later what they
were really going to do with them.

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They would disguise them

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and leave them in the mountains as
if they would have died in combat.

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I kept silence until they were
declared as \"false positives\".

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MUTE FIRE

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On February 10th 1906, four men
tried to murder the president of Colombia.

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The staging of that event, was the
beginning of cinema in the country.

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The newspaper \"Correo Nacional\",

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published in Bogotá on March 6th, 1906,

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the exact and vivid account
of the execution of four men

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for the attempt of murder of
the General Rafael Reyes,

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by that time president
of Colombia.

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Marco Arturo Salgar, Carlos Roberto Gonzalez,
Juan Ortiz and Fernando Aguilar.

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were the four men sentenced
to death, and in consequence

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shot in the same place where
they committed the crime.

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The account, whose author\'s
name remains unknown,

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is extremely detailed.

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For example, he describes one by one the kind
of hat that each condemned was wearing.

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It’s worth quoting the whole fragment:

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\"They were all wearing black:
Salgar wore a straight wing cinnamon hat.

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Aguilar wore a Panama hat.

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Gonzales, a black Tyrolean hat.

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And Ortiz wore a black hard hat.\"

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The reporter also collects
a series of interviews.

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The most striking is perhaps, the one from
the Captain of Executions, who just says,

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in a serious tone I\'d guess:
\"Nothing is sacred\".

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The reporter states: \"The shooting
proceeds as normal.

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Given the signal with his sword
by the Captain of Executions,

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the first round of shooting
resounds from the rifles.

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Afterwards, a group of doctors approaches

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and certify that the condemned
are still breathing,

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and give the order for
a second shooting,

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which ends with the immediate
entrance of the four coffins

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to transport the corpses
to the cemetery.\"

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This time, the event is more relevant than
usually, since president Rafael Reyes

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guided by this moment of political
instability, makes an exception

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and the shooting doesn\'t take place in
the courtyard of the School of Infantry,

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where it would normally happened.

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Instead, it\'s held in a public area,
in front of over 10,000 people.

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Rafael Reyes saw here the
remains of the last civil war

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that had ended only four years ago,
and still had the country in agony.

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Shooting people of his same
political party in public areas,

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was for him a sign of authority,

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but also an invitation to end
the traditional divide

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between the liberal
and the conservative party.

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With the purpose of making this shooting
visible to as many people as possible

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Reyes publishes the book \"February 10th\",
telling the events through photos.

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Reyes thought that, just like the people
who witnessed the shooting in person did,

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everyone who saw those photos
would immediately support his idea.

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Nevertheless, the most interesting
part of this series of photos

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happens after the moment
of the cemetery picture.

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It’s unknown whose idea it was, but due to the
impact caused by the pictures of the execution

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president Rafael Reyes, Chief of police
Pedro Pedraza, and photographer Lino Lara

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decided together to recreate
the moments before the shooting.

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They decided to recreate
the attack on the president

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and the capture of the condemned,
to create a story.

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The outcome was what the historians
called a \"false document\".

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From the 22 pictures that make up
the story, 18 are theatrical reenactments.

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This is the first time of a tale made
through photographs in Colombia.

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This little narrative gesture,
is acknowledged by tradition

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as the beginning of
filmmaking in the country.

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Here lays the body of Rafael Reyes today.

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This was going to be a movie about the
beginnings of Cinema in Colombia,

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about its first images.

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But as it\'s being said:

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To talk about Colombia
we have to talk about war.

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And to talk about war we need to talk about
armies, about deaths, about cemeteries.

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At the same time, my house and my
parents house looked like a cemetery.

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It felt like haunted by an inert current,
like flooded by murky water

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or better, by dead water.

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A few months ago my mother
had an episode of mutism,

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and without any explanation,
she just stopped talking.

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I remember with some nostalgia

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how she repeated the words of that
Mexican musician while cooking:

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that said something like:
\"I wish you to be happy, very happy...

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I wish you to find love,
because you deserve it\"

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I read somewhere that the first thing you
forget about a person is the voice.

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Affected by this
familiar incident,

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and because of what connects
all things together

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maybe the first moments
of national cinema

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and the muteness of my mother can
be part of the same scenario.

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Like when you look at a surface
where shadows are being projected

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and you can\'t tell each
object from the other apart.

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One night my father woke up and saw
the light of the bathroom on.

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When he came closer, he saw my mother in
front of the mirror, shaking.

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My father hugged her and
asked her what was going on,

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he asked her if she
had a bad dream

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but she couldn’t answer.

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Since that moment,
she has never spoken again.

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My mother spent most of the time locked in a
room looking at people through the window.

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Her presence had become more and
more unbearable for my father

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who couldn’t avoid feeling sometimes
guilty, and sometimes cheated.

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The ambiguity of the doctors answers
left a bad feeling behind

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which made him think
that she was just pretending.

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One day, a worker of the family suggested
to try with another type of specialist

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from his point of view, my mother\'s
muteness was due to a powerful spell.

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My father agreed, even if it
would make him feel humiliated

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because for him, superstitions
were for fools.

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After two weeks some kind of chaman
or warlock came to my mother.

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After wandering around the house, where some
kind of weird mantle could certainly be felt

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like a thick, rancid
smell, he told my father:

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\"Your problems have a
solution, don’t worry.

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You just have to
sell this house,

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and leave somewhere visible a valuable
object and a picture of her.\"

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My father did so.

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The house was put on sale, and on a
shelf he left a picture of her

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and a black stone that she
held like a luck charm.

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Please, put your legs up.

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There’s a line dividing the brain
into a left and a right hemisphere.

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Usually, in most people,
the left hemisphere

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dominates language.

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Language works in two important parts.
One part is in the temporal lobe.

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The one responsible for perception
and comprehension of any language.

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And the other one in the frontal lobe

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that’s directly responsible
for performing words.

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So that words can coordinate a coherent
answer according to the understood question.

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A coherent and adequate answer.

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In your case, we’re hoping that you
understand the things we’re asking you.

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And in case you would
have any difficulties,

00:16:03.962 --> 00:16:08.767
we would find some structural injury
in this part that could be either a tumor

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or a scar of some cerebral stroke
that you might have had.

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No injury, no tumor.
Analyzing the neurological exam

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and this last generation
exam, we can conclude

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that Aracellys brain is completely normal.

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- Ok. What\'s your name?
- Gustavo Rojas.

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Gustavo Rojas.

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No, no. I think it\'s better alone.

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Or I introduce him.
Gustavo Rojas.

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Gustavo Rojas, he is chief
of the Kawiyarí tribe...

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Well, there\'s many different ones.
Like Tucanos, and some others...

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Let\'s stop for a minute. One question.
She will ask so you can answer that...

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There’s an announcement on
the internet that says:

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\"Recover all important moments of
your life that are kept in old tapes.

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Live those unique moments with
your family and friends again.

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All formats, Betacam SP,
VHS, DV, mini DV, 8mm…\"

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I contacted the advertiser.

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That same afternoon, in a country
house on the outskirts of the city,

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I got to meet Carlos Pelbet,

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founder of an old audiovisual company
that he and his brother had

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since the beginning of the 80s.

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Carlos told me rapidly about
his interest in films

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or rather, he told me that at some
point of his life it was of his interest.

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Also that Pelbet, his company,

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inaugurated the recording and broadcasting
business of soccer matches in Colombia

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and that it was right then, when competing with
the big TV channels, that the company broke.

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He told me that a few years ago he started
collecting anonymous family home movies

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from the cassettes that he digitizes.
Hours and hours of family events

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weddings, first communions, birthdays,
baptisms, Christmas and holidays.

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In a sense, my film is
a relative of all these images,

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of the personal images of everyday rites.

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Carlos tells me that each week, a
different youngster arrives at his door

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wanting to digitize
images of his family

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with an idea similar to mine:

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To make a film about their mothers,
fathers or grandparents.

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Apparently more people are doing the
same film as me at this moment.

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We are all thinking about the same images.

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These are some images taken by my mother.

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A movie about a play in
a rural school she worked at.

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Back then, she sympathized with the
insurgent groups of the country.

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That’s me.

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In one of the movie cans,
it was written on a white tape:

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\"Marquetalia, 1964\".

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Those are the place and the date
where the famous FARC was founded.

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Apparently, the play is about a popular
narration about the first combats

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between the FARC guerilla
and the National Army.

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The story is the following:

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Having the intention of avoiding the
expansion of the communist guerrilla,

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on May 18th, 1964 president
Guillermo León Valencia

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sends over a thousand soldiers
to the Tolima plateau

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in search for a suspected FARC camp with
48 members of the insurgent movement in it.

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After nine days of intense
wandering, the group of soldiers,

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lead by Lieutenant Colonel
José Joaquín Matallana,

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starts suspecting that they’re wrong,
that there’s no such camp.

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They quickly realize that the insurgents
are not full time soldiers,

00:24:04.576 --> 00:24:06.478
and that most of them actually

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have a disguised life as farmers
among the civilians.

00:24:12.951 --> 00:24:15.253
A question immediately arose:

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How to tell the population, most of them
farmers, from the guerrillas apart?

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Facing this, Colonel
José Joaquín Matallana,

00:24:25.530 --> 00:24:28.567
who considered himself as an
analytic and methodic person

00:24:28.633 --> 00:24:31.970
and an innovating strategist,
thought to have the answer.

00:24:32.137 --> 00:24:37.209
He explains to his soldiers: \"This problem
is essentially about appearances\".

00:24:37.442 --> 00:24:42.113
Matallana ordered his soldiers to go
after every man and woman of the area

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and force them to wear the
guerrilla uniform in front of them.

00:24:48.253 --> 00:24:50.255
Matallana assured his soldiers,

00:24:50.322 --> 00:24:53.592
that the uniform had the
strength and essential capacity

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to reveal someone\'s identity.

00:24:55.760 --> 00:24:58.730
According to his logic,
wearing the uniform

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would immediately reveal if the person
was a real guerilla soldier or not.

00:25:26.825 --> 00:25:33.064
After two weeks they had captured 52 people,
including five children and eight elderly.

00:25:33.298 --> 00:25:37.068
This idea would be known later
as the Matallana logic.

00:25:37.102 --> 00:25:39.804
And what could have been a
brilliant military operation,

00:25:39.838 --> 00:25:42.674
ended up being one of the biggest
political failures in history

00:25:42.807 --> 00:25:47.913
because, in less than two years, those 48
soldiers would later turn into five thousand.

00:25:51.583 --> 00:25:56.021
From then on, the idea of the disguised
guerrilla would become an obsession

00:25:56.021 --> 00:25:58.557
in the development of
public opinion in the country.

00:25:58.690 --> 00:26:02.160
Throughout the years, the question
would be incessantly repeated:

00:26:02.460 --> 00:26:05.030
Who’s really from the guerilla,
and who’s not?

00:26:30.121 --> 00:26:32.958
More than 20 years ago
my mother filmed me.

00:26:33.124 --> 00:26:35.560
Today, I’m filming her.

00:26:43.034 --> 00:26:47.572
Seeing myself in that play,
playing role of a farmer

00:26:47.605 --> 00:26:51.109
captured by the army and forced
to dress like a guerilla man

00:26:51.176 --> 00:26:55.547
I couldn’t avoid thinking of the
recent events of the war in Colombia.

00:27:07.092 --> 00:27:11.296
Thousands of innocent young people were
captured by the National Army of Colombia

00:27:11.329 --> 00:27:16.234
and taken to different parts
of the country to be murdered later.

00:27:16.401 --> 00:27:19.204
Then, their bodies were
dressed up like guerilla-soldier

00:27:19.237 --> 00:27:22.974
and presented in front of the
media like military successes.

00:27:23.108 --> 00:27:26.745
It was a systematic
falsification of war events.

00:27:26.811 --> 00:27:30.715
Stagings, using real victims
to create a story.

00:27:38.023 --> 00:27:42.727
By the year 2008, this practice
was so common in the National Army

00:27:42.827 --> 00:27:46.965
that the victims of this type of
crime counted to the present day

00:27:47.065 --> 00:27:50.468
are more than the missing people
during the dictatorship in Chile.

00:28:39.818 --> 00:28:41.519
During the 1960s,

00:28:41.586 --> 00:28:44.656
in search of images of
true revolutionaries,

00:28:44.756 --> 00:28:47.392
two French filmmakers
travelled to Riochiquito,

00:28:47.425 --> 00:28:49.260
located in the north of
the province of Cauca.

00:28:49.294 --> 00:28:55.400
They recorded there the activities
of the recently founded FARC.

00:28:58.136 --> 00:29:02.974
In 1964, the government
started a persecution again.

00:29:03.074 --> 00:29:09.814
This time, with 16,000 men ordered to wipe
out completely with the organization.

00:29:10.148 --> 00:29:14.486
But again, they encountered with
the resistance of the farmers

00:29:15.453 --> 00:29:21.459
and instead of ending it, the movement
has spread and got even stronger.

00:29:22.160 --> 00:29:28.466
Since in June 1964 we had already...

00:29:29.667 --> 00:29:34.506
created a program that was already
well known by the public opinion.

00:29:34.606 --> 00:29:37.942
Many other revolutionary
movements have also joined in.

00:29:37.976 --> 00:29:42.447
They also agree with it and
will fight together with us.

00:29:42.814 --> 00:29:46.985
According to a French article called
\"Cinema declares war on us\"

00:29:47.152 --> 00:29:48.820
the screening of this movie

00:29:48.820 --> 00:29:52.524
generated an unexpected anguish
among young people in Paris.

00:29:52.657 --> 00:29:56.394
Apparently, proving the
existence of revolutionary life

00:29:56.427 --> 00:29:59.697
radically buried any other
alternative of life.

00:29:59.898 --> 00:30:02.267
For the young Parisians of that time

00:30:02.300 --> 00:30:05.804
nothing could be compared to the idea
of leading a life in the armed struggle

00:30:05.837 --> 00:30:07.705
for political transformation.

00:30:08.072 --> 00:30:11.009
Hence,
the movie made them feel

00:30:11.009 --> 00:30:14.212
that their lives and
experiences were insignificant

00:30:14.279 --> 00:30:17.148
compared to those of Colombian guerilla.

00:30:27.158 --> 00:30:29.694
Louise Canet, a western
movies director,

00:30:29.794 --> 00:30:32.664
then recently joined to
the French Socialist Party

00:30:32.697 --> 00:30:34.766
declared after watching the movie:

00:30:34.833 --> 00:30:39.971
\"It’s common to hear people saying that
South American people are violent by nature

00:30:40.004 --> 00:30:43.074
that they have a violent heritage from
the Spanish and the Indigenous people.

00:30:43.107 --> 00:30:46.411
I don’t know what to think.
But I’m sure of something:

00:30:46.444 --> 00:30:48.713
It’s a fertile land for rebels\".

00:32:44.462 --> 00:32:48.499
This is the place where the attempt against
president Rafael Reyes happened

00:32:48.533 --> 00:32:52.236
and where the four men who
did it were shot later on.

00:32:52.403 --> 00:32:56.174
In the same place, just a few
weeks later, photographer Lino Lara

00:32:56.207 --> 00:33:00.244
and Commandant Pedro Pedraza
recreated the attempt of murder.

00:33:05.583 --> 00:33:08.419
According to the records
of the Correo Nacional,

00:33:08.519 --> 00:33:10.922
the pictures were
taken in two days

00:33:10.955 --> 00:33:13.358
and only during morning hours.

00:33:13.691 --> 00:33:17.195
From those two days, a brief
correspondence between Lino Lara

00:33:17.261 --> 00:33:18.930
and General Pedro Pedraza
hast been preserved.

00:33:19.063 --> 00:33:23.334
Here, after making it clear
that he’s also a photographer

00:33:23.434 --> 00:33:26.971
and not a superstitious person,
officer Pedraza asks himself:

00:33:27.038 --> 00:33:29.741
is there any risk in imitating the dead?

00:33:30.508 --> 00:33:33.378
There is no known answer from
Lino Lara to this question.

00:33:33.444 --> 00:33:38.316
In fact, very little
is known about him.

00:33:38.516 --> 00:33:42.453
In contrast, a lot has been
written about these photographs

00:33:42.453 --> 00:33:46.924
and the importance of violent
events reenactments in the country.

00:33:55.967 --> 00:33:59.871
It\'s easy to think that the idea of
this first tale has been influenced

00:33:59.871 --> 00:34:02.907
by some of the first films
of Thomas Alva Edison

00:34:02.940 --> 00:34:06.210
in which episodes of famous
executions are recreated.

00:35:07.905 --> 00:35:11.609
For example: Here they recreate
the death of Leon Czolgosz

00:35:11.609 --> 00:35:16.747
a Polish anarchist sentenced to death for the
murder of the president of the United States,

00:35:16.814 --> 00:35:20.384
William McKinley, on
September the 6th, 1901.

00:35:49.881 --> 00:35:53.217
Edison\'s goal was to
publicize the electric chair

00:35:53.217 --> 00:35:58.256
to make it the new method of execution in
the country and replace the gallows.

00:35:58.623 --> 00:36:02.593
He knew that neither technology, nor
his inventions were neutral

00:36:02.727 --> 00:36:06.731
and since electricity could be
turned into a killing device

00:36:06.831 --> 00:36:09.133
the cinematograph and the pictures

00:36:09.166 --> 00:36:14.472
could also unleash very useful energies
for the project of a country.

00:37:06.290 --> 00:37:08.526
These landscapes of the Magdalena river

00:37:08.526 --> 00:37:12.663
were recorded in photographs
by Rafael Reyes in 1909.

00:37:12.897 --> 00:37:17.602
Back then, the former president dedicated himself
to travel around the unknown national territory

00:37:17.602 --> 00:37:22.240
thinking about how Colombian cinema could be
used according to the project of a country.

00:37:22.306 --> 00:37:25.876
The result of this 22-day-long
adventure was a book called:

00:37:25.977 --> 00:37:29.780
\"Presidential excursions,
notes from a travel journal.\"

00:37:31.482 --> 00:37:36.821
The book contains a detailed inventory of
the main natural resources of the country

00:37:36.954 --> 00:37:41.125
in relation to the industrial means
necessary for its exploitation.

00:37:41.459 --> 00:37:42.326
For instance:

00:37:42.360 --> 00:37:46.664
there\'s a list of the total length of
the railway tracks of each province

00:37:46.764 --> 00:37:52.036
in relation to the increase of hectares
cultivated year by year since 1895.

00:38:10.855 --> 00:38:13.724
Reyes intended to boost
several trades,

00:38:13.724 --> 00:38:15.893
especially in the areas
of banana plantations.

00:38:15.893 --> 00:38:19.397
Therefore, articles from
French and English magazines

00:38:19.430 --> 00:38:21.766
recommending the consumption
of bananas were included

00:38:21.799 --> 00:38:26.003
arguing that bananas were the most
hygienic and nutritious fruit of them all.

00:38:26.671 --> 00:38:31.142
At the same time, this documentation is
accompanied by a series of photographs

00:38:31.142 --> 00:38:35.513
that privilege images of landscapes,
agricultural colonies, train tracks

00:38:35.546 --> 00:38:39.116
prominent personalities of the
industrial world and workers.

00:38:39.250 --> 00:38:42.520
This book was the first visual
record of the national territory.

00:38:42.620 --> 00:38:46.557
Rafael Reyes described it as
an \"explained cinematograph\".

00:39:15.186 --> 00:39:19.056
Banana field blueprint

00:39:58.629 --> 00:40:03.200
The truth was, Rafael Reyes did not only
intend to create a catalog of wealths

00:40:03.234 --> 00:40:05.903
to allure foreign multinationals.

00:40:06.003 --> 00:40:09.840
His true purpose was to create a
unified image of the country,

00:40:09.940 --> 00:40:12.209
which due to the characteristics
of its geography

00:40:12.243 --> 00:40:15.312
suffered from a great lack of
communication among its regions

00:40:15.446 --> 00:40:20.518
which by the time was already producing great
losses in large portions of the territory.

00:40:22.186 --> 00:40:26.791
Rafael Reyes was looking for something a
little more elusive and much more dangerous.

00:40:29.393 --> 00:40:32.730
He was sure that all people of the
country should be united by something,

00:40:32.730 --> 00:40:36.434
a supposed \"national essence\" that
would prevent their dismemberment.

00:40:36.734 --> 00:40:38.869
He asked himself: What are we?

00:40:38.869 --> 00:40:40.905
The result of a discrete genocide?

00:40:40.971 --> 00:40:44.241
Or are we the occasional guardians
of infinite clusters of gold

00:40:44.308 --> 00:40:47.678
and immense expanses of water
that turn into fruits?

00:40:53.717 --> 00:40:57.354
Driven by the scientific spirit of the time

00:40:57.421 --> 00:41:02.359
Reyes saw in the photographic device
the best tool to look for that essence.

00:41:08.966 --> 00:41:14.071
He thought: If photographs can capture,
better than anything else in the world

00:41:14.071 --> 00:41:19.076
the outstanding feature of the identity of
a subject that is, of course, his face

00:41:19.076 --> 00:41:21.445
why wouldn’t it be able,
with enough effort,

00:41:21.479 --> 00:41:25.683
to reveal the image of the true face
of these lands and thus, its identity?

00:41:28.519 --> 00:41:32.790
A group of the right images
can unify the country.

00:42:01.252 --> 00:42:04.855
Thus, Rafael Reyes begins like this
with his obsession with portraits

00:42:04.922 --> 00:42:10.794
which would result in the most significant
image of the book and possibly of the time:

00:42:16.834 --> 00:42:19.303
The portrait of cacique
José Dolores and his wife

00:42:19.370 --> 00:42:22.673
holding a portrait of former
President Rafael Reyes.

00:42:23.274 --> 00:42:26.510
It has been thought, quite often,

00:42:26.543 --> 00:42:28.913
that Reyes was saying only one
thing with this photograph:

00:42:29.680 --> 00:42:31.315
I am Colombia.

00:43:00.711 --> 00:43:03.180
The photographs of Rafael Reyes
and Lino Lara

00:43:03.180 --> 00:43:06.550
represented a technological
innovation for the country.

00:43:06.884 --> 00:43:08.152
From this moment on,

00:43:08.185 --> 00:43:12.756
the way in which the different events were
narrated would be radically transformed.

00:43:12.923 --> 00:43:18.329
They marked the beginning of an informative
treatment based on the display of images.

00:43:43.520 --> 00:43:49.259
For those who, like myself, have experienced the
war in Colombia exclusively through images

00:43:49.393 --> 00:43:52.663
those of television,
magazines and newspapers;

00:43:52.796 --> 00:43:56.000
the figure of Rafael Rayes
asks us a question:

00:43:56.100 --> 00:44:01.205
Is there any link between the production of
images and the war events in the country?

00:44:11.682 --> 00:44:15.319
Over the years, the question about who’s
a guerilla combatant and who’s not,

00:44:15.419 --> 00:44:17.121
suffers a transformation.

00:44:17.321 --> 00:44:21.558
It mutates, becoming the obsession
for one specific image:

00:44:21.659 --> 00:44:24.194
The image of the dead guerilla.

00:44:25.396 --> 00:44:29.600
The image of the insurgent murdered
at hands of agents of the State

00:44:29.600 --> 00:44:32.002
is spread through all
screens of the country.

00:44:32.069 --> 00:44:35.806
In a short time, it manages to dominate
the imagination of public opinion

00:44:35.806 --> 00:44:39.243
and its production is furiously
demanded from everywhere.

00:44:41.145 --> 00:44:43.647
\"¡More images!\", says the
redactor to the journalist,

00:44:43.681 --> 00:44:46.517
the editor to the photographer,
and the General to the soldier.

00:44:46.583 --> 00:44:49.853
\"I want to see a dead guerrilla
every day\", says the president.

00:44:49.887 --> 00:44:52.056
But it’s also to be
heard in schools

00:44:52.089 --> 00:44:57.327
bars, stores, churches, houses;
among friends and family.

00:45:03.167 --> 00:45:04.768
Then, the horror came.

00:45:04.868 --> 00:45:09.773
It was discovered that many of those bodies,
and in consequence many of those images

00:45:09.773 --> 00:45:12.309
didn’t belong to authentic guerilla-soldier.

00:45:12.409 --> 00:45:15.045
That the bodies were
of young innocents disguised,

00:45:15.179 --> 00:45:17.047
that everything was a staging

00:45:17.147 --> 00:45:22.920
and that the testimonies of the soldiers
were also reproductions of other combats.

00:45:32.930 --> 00:45:36.033
The response of the audience
to that truth was apathy.

00:45:36.133 --> 00:45:40.904
We all said: Those are the mothers of
the youngsters called \"false positives\".

00:45:41.038 --> 00:45:45.943
Nobody said: \"I’m the one who was found dead
in a distant area disguised as a guerilla\".

00:45:46.076 --> 00:45:49.413
Nobody said: I’m the one
that’s missing.

00:45:49.546 --> 00:45:50.748
We just said:

00:45:50.781 --> 00:45:54.885
Those have to be the family members of
the murdered people that are protesting

00:45:54.918 --> 00:45:57.788
just asking to recover the good
name of their beloved ones.

00:45:57.921 --> 00:45:58.989
Nobody said:

00:45:59.022 --> 00:46:04.027
I’m one of the \"false positives\", one of
the State murders that were celebrated.

00:46:09.266 --> 00:46:12.402
Real deaths put in combat scenarios

00:46:12.669 --> 00:46:17.808
as if the war events in the country would
have been replaced by some kind of parody

00:46:17.908 --> 00:46:20.878
by an evil imitation created by war itself.

00:46:21.211 --> 00:46:25.883
As if after all these years, the war would
be trying to create its own representations

00:46:25.949 --> 00:46:27.885
its own copies.

00:46:31.321 --> 00:46:34.858
In 1906, Rafael Reyes
created a \"false document\"

00:46:34.925 --> 00:46:37.427
to produce a story
about an execution.

00:46:37.594 --> 00:46:38.762
A century later,

00:46:38.862 --> 00:46:44.268
the Colombian Army created the \"false positives\"
to simulate the victory of the war.

00:46:44.501 --> 00:46:49.706
Thus, the \"false positives\" seem to be
part of a national fiction tradition

00:46:49.773 --> 00:46:52.276
that begins with the photographs
of Lino Lara,

00:46:52.342 --> 00:46:54.845
with the first staging of violent events

00:46:54.878 --> 00:46:57.314
and the birth of Colombian Cinema.

00:48:11.722 --> 00:48:15.859
My mother had a recurrent dream that,
according to her, chased her.

00:48:16.059 --> 00:48:20.430
In the dream, a coffin was driven
around the streets of the city.

00:48:25.969 --> 00:48:28.038
Every time she told it, she said:

00:48:28.272 --> 00:48:32.042
\"I think of that image as if I was
the dead person inside of the coffin.\"

00:48:32.142 --> 00:48:36.980
\"I imagine the people on the streets watching
and thinking in silence: someone died.\"

00:48:46.189 --> 00:48:50.394
I asked her if she ever had
that dream again. She told me yes.

00:48:50.527 --> 00:48:52.396
But that it didn’t
matter to her anymore.

00:48:52.462 --> 00:48:57.801
Over time, that image had become
boring to her, kind of obvious, pathetic.

00:49:03.340 --> 00:49:04.441
Nevertheless,

00:49:04.441 --> 00:49:09.579
she had lately started to feel curious about
the identity of the man who drove the car.

00:49:09.780 --> 00:49:13.550
She told me: \"I’ve been wondering
lately how his hands would be, his lips,

00:49:13.617 --> 00:49:17.354
the shape of his teeth.
I want to know his name\".

00:49:32.436 --> 00:49:35.472
Are you having fun?

00:50:04.067 --> 00:50:07.204
More, more, more!

00:50:23.720 --> 00:50:26.323
- Are you all right?
- Yes!

00:50:26.556 --> 00:50:30.227
Come then, so you can
get some water on you.

00:50:43.340 --> 00:50:47.277
My mother has spent the last few months
between hospitals and this house.

00:50:47.344 --> 00:50:50.080
The house of Maria, her best friend.

00:50:51.181 --> 00:50:52.516
After several months,

00:50:52.549 --> 00:50:56.920
the doctors stated that if she didn’t
talk was because she didn’t want to.

00:50:57.120 --> 00:51:00.023
Because they couldn’t find
any reason for it.

00:51:05.061 --> 00:51:07.898
Other doctors, the most pessimistic
and less reserved ones,

00:51:08.031 --> 00:51:10.967
made us understand that she just
didn’t want to live anymore.

00:51:26.750 --> 00:51:29.386
The truth is,
the more time passes,

00:51:29.419 --> 00:51:32.489
the feeling that my mother
is disappearing grows.

00:51:32.689 --> 00:51:36.960
Somehow, every day her presence
resembles more of a ghost.

00:51:37.227 --> 00:51:41.865
It’s as if she would have escaped time,
and would be merely a thought of mine.

00:51:43.800 --> 00:51:45.769
Today is her birthday.

00:51:50.307 --> 00:51:52.909
We thank the Lord because...

00:51:54.811 --> 00:51:57.247
He has given us...

00:51:58.615 --> 00:52:02.586
an exact and clear message...

00:52:04.121 --> 00:52:09.493
and we have understood that message.

00:52:10.494 --> 00:52:13.930
It\'s not that we have a screw loose.

00:52:14.531 --> 00:52:20.937
It’s not that we’re crazy,
or that we’re less than you.

00:52:23.039 --> 00:52:24.641
It\'s not that.

00:52:25.142 --> 00:52:30.514
It’s just that we accepted
to walk with Jesus Christ.

00:52:30.881 --> 00:52:35.952
That’s the difference between you and us.

00:52:36.286 --> 00:52:39.122
That’s why, even with fear

00:52:40.824 --> 00:52:44.628
we’re here in front of the presence of God

00:52:45.262 --> 00:52:48.899
and maybe you, my friend, will say:

00:52:49.132 --> 00:52:52.102
The evangelics again...

00:52:52.836 --> 00:52:55.438
Making noise again...

00:52:56.273 --> 00:53:01.678
Those people who come here just to sing...

00:53:02.179 --> 00:53:03.880
who just…

00:53:04.281 --> 00:53:09.653
During the last week, an evangelist called
Ricardo Javier has been harassing my mother.

00:53:09.853 --> 00:53:13.823
He stands in front of the house to talk to
her about the power of the word of Jesus.

00:53:18.628 --> 00:53:20.030
He was saying yesterday:

00:53:20.864 --> 00:53:23.300
\"Gods kingdom is like a thief.

00:53:23.300 --> 00:53:28.138
If we would know when a thief is coming,
nobody would ever be robbed.

00:53:28.405 --> 00:53:33.376
Gods kingdom comes when we’re not
expecting it, so keep your eyes open.\"

00:53:43.320 --> 00:53:49.593
♪ I remember when I saw
you for the first time

00:53:50.193 --> 00:53:55.265
♪ and my eyes teared up when I looked at you.

00:53:55.532 --> 00:54:00.470
♪ I can\'t deny it, I was
scared to confess to you

00:54:00.670 --> 00:54:04.741
♪ how I would adore you.

00:54:06.543 --> 00:54:11.348
♪ You looked at me, and I stared at you.

00:54:12.916 --> 00:54:17.020
♪ Until one day, we finally
understood each other.

00:54:18.188 --> 00:54:22.626
♪ Who could imagine that then
our children would come

00:54:23.593 --> 00:54:27.597
♪ To bring joy to this
place for all eternity.

00:54:29.199 --> 00:54:32.969
♪ To bring joy to this
place for all eternity.

00:55:52.449 --> 00:55:55.852
The strange thing was that I didn’t
notice her as worried as I was.

00:55:56.152 --> 00:56:00.390
If I wake up mute I would
probably go crazy.

00:56:00.557 --> 00:56:04.461
I noticed it was an attitude
that she was assuming.

00:56:04.627 --> 00:56:08.064
I could never knew if was just
in front of me or everyone

00:56:08.098 --> 00:56:09.566
or facing life.

00:56:09.666 --> 00:56:12.235
Maybe she was punishing us all.

00:56:12.435 --> 00:56:15.872
But then she stopped speaking.

00:56:15.972 --> 00:56:20.877
I don’t think she can’t speak,
I think that she has decided not to speak.

00:56:21.010 --> 00:56:23.980
And I think it’s a voluntary decision.

00:56:24.547 --> 00:56:28.651
I thought, however, that it
could be a medical issue.

00:56:29.619 --> 00:56:32.222
We took her to the doctor

00:56:32.522 --> 00:56:37.627
I talked to Héctor, to César
and to other people.

00:56:38.194 --> 00:56:40.296
To everyone I thought could know.

00:56:41.131 --> 00:56:43.633
They all came to the
same conclusion:

00:56:44.167 --> 00:56:47.337
Aracelly\'s problem
is inexplicable.

00:56:47.771 --> 00:56:53.042
It’s not physiological, and it
doesn’t seem psychological either.

00:56:53.343 --> 00:56:57.447
Always, always, always, I think
that she always understands us.

00:56:57.647 --> 00:57:00.850
She hasn\'t lost the
capacity of understanding

00:57:00.950 --> 00:57:04.821
nor has she lost any
other kind of routines.

00:57:05.021 --> 00:57:08.725
She reads, she walks, she thinks,

00:57:09.359 --> 00:57:11.661
she insinuates, she takes initiatives.

00:57:11.928 --> 00:57:16.266
I think that she is taking somehow revenge.

00:57:16.566 --> 00:57:21.237
And I think that, somehow, what she’s pretending
is to make life unbearable to everyone.

00:57:22.105 --> 00:57:24.874
If that’s the case, she
should have said it,

00:57:24.874 --> 00:57:27.243
and it would have been better

00:57:27.710 --> 00:57:29.746
that we would just
have ended everything.

00:57:29.846 --> 00:57:32.615
I think that families begin

00:57:32.782 --> 00:57:38.254
and families dissolve, families
should not self-destruct.

00:57:38.388 --> 00:57:42.459
I think we never talked enough about love.

00:57:42.625 --> 00:57:45.628
Because if we had talked
enough about love

00:57:45.795 --> 00:57:47.897
we would have understood
it from the beginning.

00:57:48.264 --> 00:57:53.136
Love is born, it grows and it
dies like everything in nature.

00:57:53.369 --> 00:57:59.676
I believe that the academic attitude is not
only repeating texts in the universities

00:58:00.109 --> 00:58:03.546
but to live academically,
and that we have lacked.

00:58:14.557 --> 00:58:17.160
This is the first recorded
game of the Atlético Nacional,

00:58:17.193 --> 00:58:19.796
in this filmic document
of the Pelbet company.

00:58:19.829 --> 00:58:24.434
We will present indistinctly,
according to journalistic consideration

00:58:24.534 --> 00:58:27.871
the main games, the ones
we consider essential

00:58:28.004 --> 00:58:31.875
for the conquer of the title of 1981.

00:58:32.609 --> 00:58:35.879
The team wins 3-0 in his opening game.

00:58:35.912 --> 00:58:38.715
The second game in
Armenia was tied 0-0.

00:58:38.848 --> 00:58:43.319
The final game of the championship tied
1-1 against Medellín in the first round

00:58:43.319 --> 00:58:46.890
and in the second round
they lost against Quindío 0-2.

00:58:47.523 --> 00:58:52.929
The first goal was scored by
Victor Luna and Guillermo La Rosa

00:58:52.929 --> 00:58:55.532
from the midfield, inside the area

00:58:55.598 --> 00:59:00.470
so that he can be, as
usually, close to the goal.

00:59:02.071 --> 00:59:04.774
Let’s go for the second victory Verdolaga!

00:59:05.441 --> 00:59:10.146
Attention, La Rosa has the ball,
Herrera enters the area.

00:59:10.413 --> 00:59:15.451
He kicks gently, but what a
great location of the ball!

00:59:16.719 --> 00:59:21.658
These images belong to the thirty-fourth
Colombian professional football tournament

00:59:21.658 --> 00:59:24.260
having the Atlético
Nacional team as champion,

00:59:24.327 --> 00:59:26.529
after a victory against
América de Cali

00:59:26.563 --> 00:59:29.032
with a difference of one goal to zero.

00:59:32.368 --> 00:59:36.673
During the tournament, Atlético Nacional
would play a total of 61 matches.

00:59:36.739 --> 00:59:40.977
They would win 28, draw 17 and lose 16.

00:59:42.178 --> 00:59:45.448
The particularity of this
tournament is due to Carlos Pelbet

00:59:45.448 --> 00:59:48.284
and his small family
company, Pelbet S.A.

00:59:48.551 --> 00:59:52.088
Along with his brother, four
cameramen and a commentator

00:59:52.155 --> 00:59:56.993
Carlos Pelbet recorded all the matches
of Atlético Nacional during the tournament.

00:59:56.993 --> 00:59:58.661
This was the first time

00:59:58.695 --> 01:00:01.931
that professional cameras were taken
to the football stadiums in the country

01:00:02.031 --> 01:00:07.003
and those were also the first efforts to
broadcast the football events in Colombia.

01:00:10.707 --> 01:00:13.910
The transmissions made by Carlos
Pelbet were very limited,

01:00:13.943 --> 01:00:16.813
since they were designed to
reach a few radio studios only

01:00:16.846 --> 01:00:21.150
where the announcers told the listeners
what were seeing on the screens.

01:00:21.551 --> 01:00:25.722
Carlos Pelbet says to himself:
I transformed the history of this country

01:00:25.722 --> 01:00:28.124
through football and cameras.

01:00:28.224 --> 01:00:33.062
I brought the replay and the slow motion.
I educated the eye of many young people.

01:00:34.030 --> 01:00:36.466
Carlos stops in this image.

01:00:38.134 --> 01:00:42.138
Apparently, the foul can\'t
be seen clear enough.

01:00:42.238 --> 01:00:45.008
But let’s have a look
from the reverse angle.

01:00:45.274 --> 01:00:49.946
The one from the cameras at the other side
of the goal, placed by Pelbet’s company.

01:00:50.013 --> 01:00:52.682
41 minutes of the
additional stage.

01:00:52.715 --> 01:00:55.284
Four minutes left for
Nacional to be the champion.

01:00:56.819 --> 01:01:01.991
Look at that karate blow from Gonzalez
Aquino to the peruvian Cesar Cueto.

01:01:03.393 --> 01:01:06.496
Just a few minutes left
of the championship final.

01:01:08.398 --> 01:01:09.599
After this fall

01:01:09.666 --> 01:01:12.468
the referee interprets a
penalty kick and sanctions it.

01:01:12.468 --> 01:01:15.004
Immediately, the coach of the
America enters the field

01:01:15.138 --> 01:01:17.907
and tells all his players
to leave the game,

01:01:17.940 --> 01:01:20.543
arguing lack of guarantees
from the referee.

01:01:21.411 --> 01:01:23.279
The game was never finished.

01:01:28.718 --> 01:01:33.523
After this event, Carlos Pelbet was harassed
for several days by hundreds of fanatics

01:01:33.690 --> 01:01:36.325
who wanted to obtain the
recordings of the game,

01:01:36.325 --> 01:01:39.529
with the intention of studying the
images very carefully themselves

01:01:39.595 --> 01:01:42.031
together with friends and family.

01:01:42.198 --> 01:01:45.301
Repeat them again and
again, frame per frame,

01:01:45.401 --> 01:01:48.304
and dissecting that instant
as many times as necessary

01:01:48.304 --> 01:01:53.209
until it spoke for itself and said
if the fault was simulated or real.

01:01:57.046 --> 01:02:01.084
It\'s impossible for Carlos Pelbet
to determine that kind of issue.

01:02:01.217 --> 01:02:04.654
For him, there is simply no
difference between someone who falls

01:02:04.754 --> 01:02:06.989
and someone who
pretends to fall.

01:02:14.630 --> 01:02:17.333
More than 30 years after
those first recordings

01:02:17.400 --> 01:02:21.804
Carlos keeps working with images
coming from football events.

01:02:42.892 --> 01:02:46.162
- Was my exit okay?
- It was fine.

01:02:47.530 --> 01:02:48.965
Cut.

01:02:50.900 --> 01:02:52.969
Roll camera, roll sound.

01:02:53.736 --> 01:02:56.139
- Do I have to clap again?
- Yes, please.

01:02:57.173 --> 01:02:58.474
- Ready?
- Yes.

01:02:58.474 --> 01:03:03.412
When I started this movie, I was trying to
find out if my mother was pretending or not.

01:03:03.579 --> 01:03:07.216
If she had really turned mute,
if she was really dying.

01:03:07.350 --> 01:03:10.753
Neither my father nor other relatives
or close friends believed her

01:03:10.853 --> 01:03:14.223
nor the doctors nor even
the religious people.

01:03:14.323 --> 01:03:16.893
But, in a similar way to
what many experienced

01:03:16.926 --> 01:03:19.762
when analyzing the images of the national
Football championship final game

01:03:19.962 --> 01:03:22.532
there may be no difference
between someone who suffers

01:03:22.532 --> 01:03:24.500
and someone who
pretends to suffer.

01:03:29.138 --> 01:03:32.542
So, Carlos points out that
it\'s useless to judge an image

01:03:32.575 --> 01:03:35.411
wanting to discern what\'s
real in it and what’s not.

01:03:35.678 --> 01:03:40.082
For him, images are jus not a good
place to look for the truth.

01:03:41.517 --> 01:03:45.555
Then, from the projects of
Thomas Alva Edison, Rafael Reyes

01:03:45.688 --> 01:03:49.625
and the recent images that
dramatize deaths and violent events

01:03:49.759 --> 01:03:51.894
perhaps it would be
better to ask ourselves:

01:03:51.961 --> 01:03:55.064
What effects do these
images have on the living?

01:03:55.631 --> 01:03:59.535
Do they have any participation
in the events they represent?

01:05:14.043 --> 01:05:16.212
For example these women.

01:05:16.345 --> 01:05:17.847
All three are actresses

01:05:17.847 --> 01:05:20.383
who pose as if they had lost
a family member in the war

01:05:20.449 --> 01:05:22.251
and were claiming for them.

01:05:30.826 --> 01:05:32.495
…or something like that.

01:05:33.229 --> 01:05:36.799
They told me not to worry,
that nobody would find out.

01:05:37.366 --> 01:05:40.403
So I believed them and
sold them the corpses.

01:05:40.770 --> 01:05:45.408
I found out later what they
were going to do with them.

01:05:46.242 --> 01:05:48.444
That they would disguise them...

01:05:50.279 --> 01:05:54.750
…and leave them on the mountains
as if they would have died in combat.

01:05:55.451 --> 01:05:59.855
I kept silence until they were
declared as \"false positives\".

01:06:27.983 --> 01:06:31.854
In a similar way to what happened with
the photographs of February 10th

01:06:31.887 --> 01:06:35.624
what would be properly considered as
the first film made in Colombia

01:06:35.725 --> 01:06:40.796
was also born from the intention to represent
the attempt and death of a political leader.

01:06:41.731 --> 01:06:46.369
On October 15th, 1914, a few
blocks from the Capitol

01:06:46.469 --> 01:06:48.971
the popular military
hero Rafael Uribe Uribe

01:06:49.005 --> 01:06:52.441
received a mortal blow with an ax
on the right side of his head.

01:06:53.209 --> 01:06:56.846
The politician was immediately transferred
to a house in the center of the city

01:06:56.946 --> 01:06:59.648
where he agonized for
14 hours and finally died.

01:07:03.552 --> 01:07:08.457
It’s told that hundreds of his followers
walked all the way back to the Capitol

01:07:08.524 --> 01:07:10.760
and with a white handkerchief
in their hands

01:07:10.793 --> 01:07:13.462
tried to pick up of the ground
the blood of the politician.

01:07:14.296 --> 01:07:18.234
That same afternoon, while
Rafael Uribe Uribe still lived

01:07:18.300 --> 01:07:23.639
a few meters from the house where he was,
the Italian brothers Di Doménico

01:07:23.939 --> 01:07:27.810
who later would be recognized as
\"the fathers of Colombian Cinema\"

01:07:27.910 --> 01:07:32.815
began with urgency the filming of the
first film of the country, entitled:

01:07:32.882 --> 01:07:36.786
\"The drama of October 15th\",
in which this murder was recreated.

01:07:37.686 --> 01:07:40.589
Only one shot from the
film is preserved.

01:07:40.623 --> 01:07:45.494
These images are from the same
date but made with other cameras.

01:07:45.828 --> 01:07:49.365
However, due to the great
controversy caused by the film

01:07:49.432 --> 01:07:53.702
extensive descriptions of their images
can be found in newspapers of the time.

01:07:58.274 --> 01:08:01.911
For example, we know that the
film started with a fade

01:08:01.911 --> 01:08:05.247
that slowly showed a
portrait of the soldier.

01:08:05.448 --> 01:08:09.318
After almost a minute in which the
image was still on the screen

01:08:09.552 --> 01:08:14.657
followed a scene that recreated the last
moments of agony and death of the politician.

01:08:14.824 --> 01:08:18.828
We also know that the film
could never be fully projected.

01:08:19.028 --> 01:08:21.864
Despite the good intentions
of the Di Doménico brothers,

01:08:21.897 --> 01:08:24.800
the audience couldn\'t bear to see
the images of the hero dying

01:08:24.934 --> 01:08:27.269
nor could they bare seeing his assassins.

01:08:28.337 --> 01:08:30.940
The public opinion
reacted radically

01:08:31.006 --> 01:08:33.976
and pursued with the censorship
and destruction of the film.

01:08:34.210 --> 01:08:36.412
In their defense, the Italians,

01:08:36.445 --> 01:08:40.015
who due to the public harassment
could never make a film again

01:08:40.115 --> 01:08:44.653
argued in their favor referring to the
images of Christ dying on the cross.

01:08:44.854 --> 01:08:50.192
If the highest institutions such as museums
and churches in all regions of the planet

01:08:50.392 --> 01:08:55.664
allocate entire pavilions with the sole function
of protecting the image of Christ dying

01:08:55.764 --> 01:08:58.968
it is because Christ reincarnates
in each one of those images.

01:08:59.135 --> 01:09:01.537
To adore those images
is to adore the Christ,

01:09:01.637 --> 01:09:04.673
those images create the
world of Christianity.

01:09:07.042 --> 01:09:10.012
Thus, the Italians thought

01:09:10.012 --> 01:09:13.382
that a State is also the
sum of all its images.

01:09:13.449 --> 01:09:17.953
For the Di Doménico brothers, destroying
the images of Rafael Uribe Uribe dying

01:09:18.087 --> 01:09:22.158
was opting for a country incapable of
imagining and thinking about their dead.

01:09:25.294 --> 01:09:29.798
The first film of the Colombian Cinema,
is born, and dies from this event.

01:09:30.432 --> 01:09:33.402
This is its only remaining image

01:09:33.469 --> 01:09:37.139
the famous image of the woman
holding the patriotic symbols.

01:09:39.041 --> 01:09:41.577
I imagine the death
of Rafael Uribe Uribe

01:09:41.644 --> 01:09:45.548
with a coffin that crosses the streets,
marking the path of a crowd.

01:09:45.948 --> 01:09:48.617
The image of the people that
accompanies their leader.

01:09:48.817 --> 01:09:51.954
Perhaps this film by the
Di Doménico brothers

01:09:52.054 --> 01:09:56.225
and the events that surrounded it,
allow us to see from a new perspective,

01:09:56.292 --> 01:09:59.929
the images made by Rafael Reyes
and Thomas Alva Edison.

01:10:00.195 --> 01:10:03.332
A perspective that does not focus
on the truth of the images,

01:10:03.399 --> 01:10:06.268
but on the reaction that
the public has before them.

01:10:06.669 --> 01:10:11.507
These events highlight that the staging
of death has a relative value.

01:10:11.840 --> 01:10:15.878
Rafael Reyes and Thomas Edison
staged the death of rebels.

01:10:16.045 --> 01:10:19.148
These images are celebrated
and widely broadcasted.

01:10:19.248 --> 01:10:20.382
On the contrary,

01:10:20.382 --> 01:10:23.852
the Di Doménico brothers recreated
the death of a beloved political leader

01:10:23.919 --> 01:10:28.457
and hurt the sensitivity of the national
public, the images were destroyed.

01:10:28.624 --> 01:10:32.294
This shows that the images
collect a sensitivity.

01:10:32.428 --> 01:10:34.830
A sensitivity that
only becomes tolerable

01:10:34.863 --> 01:10:38.300
when it reflects the image that a
country likes to receive from itself.

01:10:38.300 --> 01:10:41.804
These events also reveal
something even simpler:

01:10:41.804 --> 01:10:45.341
the survival of certain
images leads to sympathy

01:10:45.441 --> 01:10:48.510
and intensifies the idea that there
are deaths worthy of mourning

01:10:48.577 --> 01:10:50.179
and others that are not.

01:12:37.386 --> 01:12:38.887
When I look at my
mother from a distance,

01:12:38.887 --> 01:12:42.891
I feel that at any moment she will say
something and her expression will change.

01:12:43.826 --> 01:12:46.795
Maybe all I have to do is wait.

01:12:47.096 --> 01:12:49.264
I have decided that I must
believe in her muteness.

01:12:49.331 --> 01:12:52.000
I can’t not do it,
when I see her images.

01:12:53.202 --> 01:12:55.537
I think that I\'ve been looking
in the wrong places

01:12:55.571 --> 01:12:58.440
and the reasons for her muteness
are somewhere else.

01:15:24.953 --> 01:15:29.591
Together with Carlos Pelbet, we recreated the
work of a group of forensic anthropologists.

01:15:31.393 --> 01:15:34.296
Some years ago in Colombia,
they had started

01:15:34.296 --> 01:15:39.268
the search and identification of the bodies
of people missing during the war.

01:15:39.434 --> 01:15:43.338
Exhumation units
throughout the national territory

01:15:43.405 --> 01:15:48.176
were in search of the deaths who were hidden
underground by the different armies.

01:15:49.378 --> 01:15:54.249
Together with some neighbors and friends who
disguised themselves as forensic and military

01:15:54.249 --> 01:15:57.019
we walked around some
fields around the village

01:15:57.119 --> 01:16:00.622
dug graves and did a
small performance

01:16:00.622 --> 01:16:03.292
of the search for the bodies
of those missing persons.

01:16:05.794 --> 01:16:08.730
No matter how hard I try

01:16:08.730 --> 01:16:10.899
I can\'t make myself
more than a small idea

01:16:10.899 --> 01:16:14.136
of the dimension and cruelty that
the \"false positives\" meant.

01:16:18.941 --> 01:16:22.844
I wonder if, with the purpose
of telling about these crimes

01:16:22.844 --> 01:16:27.549
the best way wouldn’t have been through
images invoking the real victims

01:16:27.649 --> 01:16:32.788
the bodies of the executed youths, the
testimonies of the relatives, the witnesses

01:16:32.921 --> 01:16:35.557
and the people who actually
suffered it in life.

01:16:35.624 --> 01:16:39.561
However, I suspect that the same
thing would happened

01:16:39.595 --> 01:16:43.365
as it did, when they were first broadcasted
in television across the country.

01:16:43.498 --> 01:16:47.536
We would simply close our eyes
to avoid feeling those deaths.

01:16:51.139 --> 01:16:55.410
When the \"false positives\" were presented
as victories of the National Army

01:16:55.477 --> 01:16:58.146
they were celebrated and widespread deaths.

01:16:58.447 --> 01:17:01.783
But when those same dead people were
stripped of their insurgent disguise

01:17:01.783 --> 01:17:04.086
and turned into state crimes

01:17:04.152 --> 01:17:06.855
they didn\'t become a scandalous image.

01:17:06.888 --> 01:17:11.893
There was something about the theater they
represented, that the audience clung to.

01:17:12.861 --> 01:17:16.164
Perhaps, this is what the
\"false positives\" warn us from.

01:17:16.198 --> 01:17:19.801
That much of the way we feel about
the deaths of the war in the country

01:17:19.835 --> 01:17:23.138
is build upon the field of
appearances and images.

01:17:24.406 --> 01:17:27.376
The representations that have
been made of the violent events

01:17:27.409 --> 01:17:31.546
have directed our sensitivity, making the
war of the country seem tolerable for us

01:17:31.580 --> 01:17:35.150
as long as the dead ones remain the same.

01:17:35.751 --> 01:17:38.920
The images have become
an instrument of war.

01:17:39.021 --> 01:17:42.190
A war is also the history
of its images.

01:18:02.677 --> 01:18:06.915
♪ With justice and truth
next to the people it is

01:18:06.982 --> 01:18:10.619
♪ with the first fire of the dawn

01:18:10.619 --> 01:18:14.890
♪ the little song that was
born in our guerrilla voice

01:18:14.890 --> 01:18:18.660
♪ of struggle and future.

01:18:18.660 --> 01:18:22.964
♪ With Bolivar, Galán already rode again.

01:18:23.131 --> 01:18:26.835
♪ No more weeping and pain of the homeland.

01:18:26.935 --> 01:18:31.173
♪ We are people who go after freedom

01:18:31.173 --> 01:18:34.476
♪ building the path of peace.

01:18:34.476 --> 01:18:38.547
♪ Guerilla of the FARC
with the people to triumph

01:18:38.547 --> 01:18:41.850
♪ for the fatherland,
the people and the bread.

01:18:41.850 --> 01:18:45.921
♪ Guerilla of the FARC,
with the voice of unity

01:18:45.921 --> 01:18:49.191
♪ to achieve freedom.

01:18:49.424 --> 01:18:53.328
♪ Guerrilla of the FARC
with the people to triumph

01:18:53.328 --> 01:18:56.465
♪ for the fatherland,
the people and the bread.

01:18:56.465 --> 01:19:00.368
♪ Guerilla of the FARC,
with the voice of unity

01:19:00.602 --> 01:19:04.206
♪ to achieve freedom.

01:19:14.149 --> 01:19:16.785
I found a recording made by my mother.

01:19:18.086 --> 01:19:22.057
It’s special because she doesn’t appear,
instead her voice is heard.

01:19:24.092 --> 01:19:26.928
Near the end she says my name.

01:19:30.732 --> 01:19:34.870
It’s August 9, 1996.

01:19:37.005 --> 01:19:41.610
Tomorrow is the parade of Silleteros.
Don Carlos Zapata is here with us

01:19:43.745 --> 01:19:49.551
who’s going to parade with a
monumental style silleta.

01:19:51.119 --> 01:19:55.190
Don Carlos, for how long have you been
participating in the parade?

01:19:55.190 --> 01:20:00.128
About ten years now, that I participate
in the parade of Silleteros.

01:20:00.896 --> 01:20:04.866
And how many times have you won?

01:20:05.100 --> 01:20:09.671
I\'ve only lost twice in ten years.

01:20:10.238 --> 01:20:13.074
Because I stopped competing. I\'ve been
the winner for eight years now.

01:20:13.208 --> 01:20:16.845
- You stopped competing?
- Yes.

01:20:17.679 --> 01:20:21.716
- We wish you good luck for tomorrow.
- Thank you.

01:20:49.644 --> 01:20:51.112
Federico.

01:20:55.417 --> 01:20:56.618
Federico...

01:20:58.153 --> 01:20:59.888
Federico...

01:21:01.256 --> 01:21:02.691
Federico.

01:21:05.227 --> 01:21:07.495
MUTE FIRE